Judas and the Black Messiah  ★★★★

DANIEL Kaluuya and Lakeith Stanfield deliver terrific performances in the biographical drama Judas and the Black Messiah.

As the title more than suggests, it’s based on the life of Fred Hampton (Kaluuya), a charismatic leader of the Black Panther Movement in 1960s America, and his betrayal by confidant William O’Neal (Stanfield).

Hampton headed the Illinois Chapter, based in Chicago, and was considered a potential future national leader of the Movement. His physical presence, powerful oratory and uncompromising leadership made him an outstanding public figure and beacon for his vilified people.

But this growing stature also brought him to the attention of the equally powerful but manic FBI Director J. Edgar Hoover, played menacingly in a few key scenes by Martin Sheen in heavy makeup.

Hoover directs his officers to target Hampton and this brings two other key characters into the story.

Teenage petty criminal William O’Neal is arrested for car theft and is being questioned by Chicago police when FBI Special Agent Roy Mitchell (Jesse Plemons) takes over, telling O’Neal he has a choice – go to jail or become an informant. The decision to opt for the latter will haunt O’Neal for the next 20 years.

Apart from immersing the audience in a compelling real-life drama, director Shaka King deftly explores the complex relationships at its core – between Hampton and O’Neal, between Hampton and his partner Deborah Johnson (Dominique Fishback) and particularly between O’Neal and Mitchell, the FBI agent who supresses his personal opinions in allegiance to a flawed law enforcement system

Kaluuya’s role is the naturally dominant one and he commands the attention in every scene. While he has rightfull earned the lion’s share of critical praise, being nominated for Best Supporting Actor at the Golden Globes and Screen Actors Guild Awards, Stabnfield’s performance is equal to the task.

Make sure you remain for the end title cards which reveal important postscripts to the character’s lives post the events in the film.

Judas and the Black Messiah is the latest in a recent run of fine films recognising the African-American struggle during this important period in history. It’s better made and more powerful than The Trial of the Chicago 7, but not quite in the same league overall as Detroit from 2017 and Spike Lee’s BlacKkKlansman (2018).